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Fantastic Women Surreal Worlds from Meret Oppenheim to Frida Kahlo February 13 – May 24, 2020

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Fantastic Women Surreal Worlds from Meret Oppenheim to Frida Kahlo February 13 – May 24, 2020 FANTASTIC WOMEN SURREAL WORLDS FROM MERET OPPENHEIM TO FRIDA KAHLO FEBRUARY 13 – MAY 24, 2020 WALL PANELS OF THE EXHIBITION INTRODUCTION FANTASTIC WOMEN IN EUROPE, MEXICO AND THE USA As goddesses, she-devils, dolls, fetishes, child-women or wonderful dream creatures – women were the dominant theme of male Surrealist fantasies. Most of the official members of the Surrealist movement founded in Paris in 1924 were men. In the wake of the disastrous experiences of the First World War, they embarked on a search for fundamental spiritual renewal and alternative lifestyles. Inspired by Sigmund Freud’s theories of the unconscious and his analysis of dreams, they practiced écriture automatique (automatic writing), celebrated coincidence and sexual anarchy in the tradition of the Marquis de Sade (1740–1814) and conducted artistic experiments of all kinds. Beginning around 1930, an increasing number of women artists joined the circle associated with André Breton, the founder of the Surrealist group, often initially as partners or models. Surrealist ideas were disseminated internationally through numerous exhibitions in such cities as London, New York and even Tokyo. And the contributions of women artists to the movement, to exhibitions and publications, were considerably more extensive than is generally recognized or have been documented to date. What distinguishes these women artists from their male colleagues above all is the reversal of perspective. Questioning their own mirror images or adopting various different roles, they engaged in a quest for a (new) model of feminine identity. Contemporary political developments, literature and myths of non-European origin were among the themes addressed in the works of female Surrealists. The exhibition focuses primarily on women artists who were directly associated with the Surrealist movement, though in many cases only for brief periods of time. They were personally acquainted with André Breton, exhibited with other members of the group or dealt with Surrealist ideas in various different ways. With some 260 paintings, works on paper, sculptures, photographs and films by 34 women artists from Europe, the US and Mexico – primarily from the 1930s to the 1960s – the exhibition covers a diverse range of styles and subjects. BIOGRAPHIES AND WORKS CADAVRE EXQUIS – THE EXQUISITE CORPSE Playing with chance, surprise, and the unconscious was a key objective of the Surrealists. The group often met to play word games: Joining together random words (“The exquisite corpse will drink the new wine”), bizarre and creative results emerged. The idea arose to play in a similar manner with images. This involved folding the paper each time a participant has drawn his or her part of the image, so that later participants cannot see what the ones before them had drawn. “Then it was delirium”, as Simone Kahn, André Breton’s first wife, later wrote: “All night long we gave ourselves a fantastic show, with the sensation to get it entirely and to have contributed with the joy to see the rise of unforeseen creatures and yet to have created them. […] There is no doubt that the participation of some of our great painters to the game, originated some true levels. But the true discovery was reserved to those who had no talent.” SCHIRN KUNSTHALLE FRANKFURT, WALL PANELS OF THE EXHIBITION “FANTASTIC WOMEN: SURREAL WORLDS FROM MERET OPPENHEIM TO FRIDA KAHLO”, FEBRUARY 12, 2020, PAGE 1 OF 14 While many of the participating artists had professional careers—Greta Knutson, Valentine Hugo, Jacqueline Lamba, Sophie Taeuber-Arp—Simone Kahn, in fact, seems to refer here (amongst others) to the women who initially participated in such collective activities without any artistic training, like Suzanne Muzard, Jeannette Tanguy or Nusch Éluard. Nusch Éluard had been a trapeze artist before her relationship with Paul Éluard. The collective play of the group was supposed to give rise to an ‘unconscious’ creative process detached from individual artistic genius, which gave room to the ‘marvelous’ and surprise. Everyone—men and women—was invited to contribute to the collective process in what, from today’s perspective, was an unusually democratic form. EILEEN AGAR 1899 Buenos Aires – 1991 London Eileen Agar is born in 1899 in Buenos Aires, the daughter of a well-to-do British merchant family. In 1906 the family returns to England. In London, Agar begins to study art in 1924 against her parents’ wishes. She initially attends the Brook Street School of Art run by Leon Underwood, before changing to the Slade School of Fine Art in 1925. From 1928 until 1930 she lives in Paris, together with the Hungarian writer Joseph Bard, later her husband. She studies painting under the Czech cubist František Foltýn. She also meets and befriends André Breton and Paul Éluard. In 1933 the Bloomsbury Gallery in London mounts Agar’s first solo exhibition. That same year, she joins the London Group at the suggestion of Henry Moore; with the group, she shows her first collages to the public. In 1936 she is the only professional English woman artist to be included by Herbert Read and Roland Penrose in the London Surrealism exhibition at the New Burlington Galleries. As a member of the Surrealist Group in England, she signs the fourth Bulletin international du surréalisme. Subsequently, she exhibits with the Surrealists in Paris, New York, and Tokyo, showing paintings and drawings, objects, collages and frottages as well as photographs. In his comprehensive 1936 exhibition Fantastic Art, Dada, Surrealism at the Museum of Modern Art in New York, Alfred H. Barr includes works by only two English women artists: Agar is one of them. The following year she spends the summer with Paul and Nusch Éluard, Roland Penrose and Lee Miller in Devon, becoming lifelong friends with the latter two. The holiday ends with a visit with Dora Maar and Pablo Picasso in Mougins, in the south of France. The Second World War interrupts Agar’s artistic practise, and she only starts painting more often again in 1946. In subsequent years, she increasingly turns to abstraction and her work is frequently exhibited internationally. Eileen Agar dies in 1991 in London. LOLA ÁLVAREZ BRAVO 1903 Lagos de Moreno – 1993 Mexico City Dolores Martínez de Anda is born in 1903 in the Mexican city of Lagos de Moreno. Her parents separate soon thereafter, and she grows up with her father in Mexico City. There she meets Manuel Álvarez Bravo, whom she marries in 1925. The two live together in Oaxaca and Mexico City. From 1927 on they run an informal gallery in their house in Mexico City. Lola at first assists Manuel in his photographic work but soon develops her own interest in photography. When the couple separates a few years later, she moves in with her painter friend María Izquierdo. Both are strongly influenced by the Surrealist-inspired aesthetic of the Los Contemporáneos group in Mexico City and in 1936 befriend the dramatist Antonin Artaud when he visits Mexico. Álvarez Bravo teaches art in primary schools and works on inventorying the photographic archive of the Ministry of Education where her photographic talent is discovered. From then on, she travels throughout Mexico as the main photographer of the educational magazine El Maestro Rural. She also increasingly creates photo montages which have a strong Surreal quality about them. She receives further commissions and is appointed head of the department of photography at the Universidad Nacional Autónoma de México. In 1944 her first solo exhibition is presented at the Palacio de Bellas Artes in Mexico City. She holds photography courses and workshops until the SCHIRN KUNSTHALLE FRANKFURT, WALL PANELS OF THE EXHIBITION “FANTASTIC WOMEN: SURREAL WORLDS FROM MERET OPPENHEIM TO FRIDA KAHLO”, FEBRUARY 12, 2020, PAGE 2 OF 14 1960s. In 1951 she opens the Galería de Arte Contemporáneo, which she runs until 1958. There she shows the first solo exhibition of Frida Kahlo in Mexico, an artist with whom she maintains a close friendship. Álvarez Bravo takes many portrait photos of Kahlo and other friends and fellow artists. She continues to teach and support Mexican art into old age. Her own works are shown in numerous exhibitions. Lola Álvarez Bravo dies in 1993 in Mexico City. RACHEL BAES 1912 Ixelles – 1983 Bruges Rachel Baes is born in 1912 in Ixelles in Belgium, daughter of the painter Émile Baes. She takes an interest in painting early on, yet never attends art school. Her style is initially influenced by Flemish Expressionism. In 1929 she exhibits for the first time in the Salon des indépendants in Paris. In the 1930s she starts a relationship with Joris van Severen, the Flemish nationalist; she will never get over his death by execution in 1940. In 1945 she meets Paul Éluard, who writes the foreword for the catalogue of her upcoming exhibition at Galerie de Berri in Paris. Baes now turns to Surrealism. She befriends René Magritte, who shows great appreciation for her and paints her portrait in 1947. A first study on her work, authored by Marcel Lecomte, is published the same year. In the 1950s she performs in an improvised piece filmed by Magritte and writes an article for the Surrealist magazine Rhétorique. In Paris, where she now lives, she moves in various artistic circles, meeting Pablo Picasso, Jean Cocteau, and Paul Léautaud. Through the support of André Breton, exhibitions of her work are shown at the galleries L’Étoile scellée and Le Terrain vague. In 1961 she returns to Belgium and, from then on, lives in Bruges, a city she often portrays in her paintings. Rachel Baes dies there in 1983. LOUISE BOURGEOIS 1911 Paris – 2010 New York Louise Joséphine Bourgeois is born in 1911 in Paris. Her family runs a business specialising in the restoration of tapestries. Due to her talent for drawing, she starts helping out in the workshop early on.
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